EP Review: Paige Kennedy - 'Style Over Substance'
Paige Kennedy’s four-song queer pop excess of lust, longing and self-worth in the face of heartbreak is perfect for fans of Christine and the Queens, Talking Heads & Lynks – a resounding success.
Paige Kennedy has become something of a sensation for their brilliant lip-synching skills and fearlessness in tour promotion on their Instagram account which includes walking up to strangers in places like Specsavers and playing their music to their staff to try and sell out their upcoming headliner tour; sporting a well-worn Dennis Lehane paperback like it’s part of their costume. It’s a novel tactic that’s effortlessly charming and endearing; the tongue in cheek sketches allow for self-depreciation as much as an improvement self-belief; and it’s made me an instant fan of their work ever since I saw them belittle all the single people at Bristol in SWX’s upper stage at the start of last year for Ritual Union festival 2026. Now they’ve got an EP; new music – and what was already a well-polished tour is about to be given even more material.
Male Friend is the single; a queer person trying to work out whether the person they’re talking to is flirting with them or their male mate; trying to work out based on what they’re wearing and going from there. It’s sometimes hard to tell; the paranoia of being upstaged by the stereotypical “hot male friend”; reflects relatable insecurities on stage – it’s a bittersweet bop that challenges acceptance and gender-norm. Paired with Oh Honey! Both challenge identities – the razor-sharp lyrics are tongue in cheek and create an offbeat humour that would make them a natural fit for a stand-up show as much as a live show; which is often what their live shows can feel like at times – and that is not a disservice.
Kennedy cites Annie Lennox, Prince and Janet Jackson’s breakup anthems as inspiration for Oh Honey! And it feels appropriately cheesy and campy – which is very much their style. The first track on the EP is full of yearning and playful, “I always thought that you’d be by my side // I guess I was naïve // love me forever and you’d never lie” is as naïve as you’d expect a relationship song to be – but the honesty about “[choking] when I say you’re my ex” allows Kennedy to wear their heart on their sleeve. The pleading and trying to figure out what went wrong knowing you’ll never get an answer is a natural bop; as we revel in Kennedy’s tragedy of their own making; wanting the subject of the lyrics to figure out as much as Kennedy themselves.
It’s effortless art pop that feels raw, heartbreaking and honest. Full of playful confusion and loss, never shying away from tackling important subjects head on – the 1950s locations of the music video clashing with the modern touches of the glossy sound the music is going for.
It’s also worth highlighting Medical Emergency, exploring a break-up – again – there’s a theme here – it’s a breakup EP after all – but this time, as the title implies, they’re sat in A&E with heart problems whilst full of self-confidence despite the situation around them. (“the hottest person to ever have an ECG” gives you a clear sense of what the track is going for from the off.) It feels daring and exciting; inspired by the likes of PJ Harvey and Tupac showing the range of what this track is going for. Kennedy’s catchy lyrics “sexiness is infectious”; making all the nurses jealous – is irresistible to bop along to.
The final track on the EP, Tina – is a delight. It’s the most Christine and the Queens-esque track of the record – longing and pleasure all wrapped up in one; the sense of euphoria and pleasure catchy and easy to sing along to.
What could be a standard indie pop record is more playful and risk taking. It’s ambitious and always offers up new things – daring and experimental. If the EP is this good surely the album will be a contender for the best of well; whenever it comes out. It’s 80s pop mixed with indie sleaze and showcases the future of pop has never been in a better place than where we are now – blowing the formula out of the water and gaining serious traction on BBC Radio across almost every network – the larger-than-life version of Paige embracing the cartoonish chaos that their album brings to the table.
Words by Miles Milton Jefferies
